I made this portrait of Daniel Radcliffe from a black and white copy. I made up the colors using my usual palette for skin tones and Walnut ink for the hair.
My procedure for portraits is based on simplification. Drawing is not what you draw but what you leave out. I begin with a very accurate ink drawing. If the features are somehow hard to get I start with pencil first, but Radcliffe has a very distinct face that is somehow easy to do. The likeness is pretty much attained by an exaggeration of the eyebrows and getting the eyes right. The jawline is also key in this case.
As in anything, things come out better when you are in familiar territory, your usual palette, your best paper, and your favorite brushes. I particularly feel at home and use no other paper for all my work than the Stillman and Birn brand, because it absorbs washes beautifully without warping. The heavy stock is just perfect for watercolor. This Portrait was done on the Beta Series on a 9×12 notebook, Natural white, Rough Surface, Extra Heavy Weight, 180lb. When I use only Ink I usually go for the smooth surface of the Heavy Stock Zeta Series. The Beta has the extra tooth that holds the water runs better.
All my sketches are done with my favorite fine point fountain pen.
When I do portraits I try to create a rhythm of contrasts so your eye jumps from dark spot to dark spot back and forth keeping the interest in the portrait in a circular motion. The warms and cools also play a part in that rhythm. Since in this portrait most of the real state is warm, the cooling factor is the blue eyes. Eyes are the feature that we feel mostly attracted to in a face, so a very bold blue in that focal point compensates for all the warmth that is around. This cool color finds then a visual connection with another cooling color, the greenish blue of the shirt, between those two I feel I accomplished a balance and the portrait feels right. The shading in the face is done using about three layers of watercolor, allowing the first layer to dry completely.
Depending on the light source direction I start my first wash with The main skin tone. then I add the first pass of dark brown and follow with the lighter and darker skin tones once the first layer is dry. The cooling touches are at the end. The coloring process is about 15 min, The drawing part takes about 25-30 min
Alizarin Crimson,Cad Red Light, Orange Yellow, Raw Umber, Burnt Sienna, Yellow Ocher, Cad Yellow Pale Hue, Pelylene green, Sap Green, French Ultramarine, Prussian Blue, Cerulean Blue, Violet, Lamp Black (Lamp black is opaque and highly staining, it makes the darks really dark as opposed to the Ivory black that is a warm semitransparent black that blends better with other pigments, I personally prefer more opacity)
Gouaches: White, Beige, Pale Peach, Flesh and Jaune Brilliant (Main skin color)
On regard to brushes I always use natural hair as it holds more pigment.
Here below are some short clips that show the normal speed in which I usually work as in watercolor you pretty much work with the flow and must be a rather quick application and in every layer pass, more and more specific in small spots/areas to create contrast.
This detail corner was done on my Stillman and Birn Beta Series sketchbook. I used Lamy fountain pens for the outlines and sketching, this was done on dry brush technique with W&N Cotman watercolors.
It is important to keep on sight good contrasts of light and shadow I believe to make a bold statement on volumes.
This Drawing was done on my Stillman and Birn Sketchbook and scanned to be coloured in Photoshop. I do my own brushes in Photoshop from scratch by creating my own presets out of my hand brush strokes, then I stamped them on the image picking the right composition colors, the rest is just gradations and fills in masked areas, varying opacity in the layering.
The spirit of NEW year 2014
Wish the best for all of you who follow my blog, my regards to your families and utmost gratitude for visiting my blog!